Sahitya Sangeet

Literature Is The Almighty & Music Is Meditation

Raga Patdeep

 



Swaras

Rishabh and Dhaivat Varjya in Aaroh, Gandhar Komal. Rest All Shuddha Swaras.


Jati

Audhav - Sampurna


Thaat

Kafi


Vadi/Samvadi

Pancham/Shadj


Time

3rd Prahar of the Day : Din ka Tritiya Prahar


Vishranti Sthan

g; P; N; – D; P; R;


Mukhya-Ang

g m P N S' D P ; mg mP N N N S' ; D P m g m P ; P g m ; g R S ,N ,N S;


Aaroh-Avroh

,N S g m P N S' - S' N D P m g R S ,N S;


Raga Description

This flittering lighter melody reflects eagerness implicit intrigue and separation pangs. Use of Nishad Shuddha in Raga Bheempalasi makes it Raga Patdeep. Vadi swar of Bheempalasi is Madhyam whereas Raga Patdeep has Vadi Swar as Pancham.

In Patdeep, Nishad is prominent in Aaroh, Pancham-Gandhar Sangati is observed, Nishad is sometimes skipped in Avroh from Tar Shadj (Sa' D P) and Rishabh receives a Kan of the Shadj in Avroh. In Avroh, Dhaivat and Rishabh are extended as in Raga Bheempalasi. Aalaps and Taans are often started with Mandra Nishad. Following notes are illustrative of the Raga form:

,N S ; g m P ; m g (S)R S ; P g m ; g m P D P ; g m P N S' ; N S' D P ; D P m g m g ; m P m g m g (S)R S;

 

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